Concerto grosso

Definition

The concerto grosso is the Baroque orchestral form based on the contrast between two groups:

the concertino: a small group of soloists (in Corelli's model two violins and a cello, plus the continuo);
the ripieno (or concerto grosso proper, or tutti): the full string orchestra with the basso continuo (harpsichord or organ, cellos, double basses, sometimes theorbo).

The principle is that of solo/tutti alternation: terraced dynamics (forte/piano), contrast of density and timbre, dialogue.

A brief history

Arcangelo Corelli (1653–1713) established the model: the 12 Concerti grossi, Op. 6 (published posthumously in Amsterdam in 1714), divided into eight church concertos (a sequence of slow and fast movements, more severe style) and four chamber concertos (with dances). No. 8 in G minor is the famous “made for the night of Christmas,” with the Pastorale at the end.
George Frideric Handel: 12 Concerti grossi, Op. 6 (1739), which follow the Corellian model.
Antonio Vivaldi: in collections such as L'estro armonico, Op. 3 (1711) he alternates concertos for one, two and four violins: the concerto grosso moves closer to the solo concerto and to ritornello form.
J. S. Bach: the six Brandenburg Concertos BWV 1046–1051 (dedicated in 1721) use highly variable concertinos: in No. 2 trumpet, recorder, oboe and violin; in No. 5 flute, violin and harpsichord with a very long harpsichord cadenza in the first movement; in No. 3 three groups of strings with no real concertino.
20th century: Bloch, Martinů, and above all Alfred Schnittke, Concerto grosso No. 1 (1977), which uses the Baroque model with quotations and “polystylistic” dissonances.

Typical structure

Church concerto (Corelli): 4 or more movements, slow–fast–slow–fast scheme (Grave, Allegro fugato, Adagio, Allegro), often with short transitional movements.
Chamber concerto: prelude + dances (allemande, courante, sarabande, gigue).
Vivaldian / late-Baroque concerto: 3 movements, fast–slow–fast, with the fast movements in ritornello form (see the “Solo concerto” entry).

Elements of writing

Tutti: the whole ensemble in unison or in four parts, forte, full harmonies, regular harmonic rhythm.
Concertino: three-part texture (two violins + cello), often in imitation, with more virtuosic passages; the continuo lightens.
Echoes: a loud tutti phrase repeated piano by the concertino (terraced dynamics).
Sequences (chains of sevenths, descending fifths) as linking material.

Guided listening (Corelli, Op. 6 No. 8, “Fatto per la notte di Natale”)

Opening Vivace–Grave: tutti chords with suspended dissonances.
Allegro: imitations between concertino and ripieno.
Final Pastorale (Largo, 12/8): tonic pedal and parallel thirds in the two solo violins imitating the bagpipers.

Application for a producer

The concertino versus ripieno principle is an arranging model that never goes out of date:

verse = “concertino” (few elements: guitar, voice, bass, light kit);
chorus = “ripieno” (the whole arrangement, strings, synths, choirs);
an echo (the same phrase repeated more quietly, filtered or with fewer instruments) creates depth without new material.

In the mix: the concertino can sit closer and drier (less reverb, more presence around 2–5 kHz), the ripieno wider and more distant (hall reverb with 20–40 ms pre-delay).

Solo concerto and ritornello form, Baroque suite, Orchestration: families, ranges and blends, Harmonic sequences, Figured bass (basso continuo).